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I took to the slopes for the first time in the glorious Saalbach-Hinterglemm, Austria, and was left wondering why I’d waited so long to try skiing – but one piece of advice was useless

When I excitedly told friends I was off to Austria to ski for the very first time, nearly 30 years into my life, the seasoned skiers among them looked a little nervous. “It’s definitely easier to learn when you’re younger,” they warned me.

So I immediately did what any late millennial would do, and took to TikTok in the hope of becoming a pro skier without ever having set foot on the slopes. In the weeks leading up to the trip, I spent every spare minute watching ski instructors share their tips for beginners, before practising the techniques – static – in my living room.

However, it all began to feel very real when we arrived in Saalbach-Hinterglemm in the heart of the Austrian Alps, where the Alpine Ski World Championships were held back in February

We checked in to the uber-modern Wiesergut, a ski in, ski out hotel built on the site of a 14th-century manor, which looks like something straight out of Architectural Digest.

READ MORE: Spain’s 5 warmest winter sun destinations for December escapesREAD MORE: Europe’s little-known Christmas market with 86p mulled wines and £32 flights from the UK

My spacious bedroom exuded understated urban chic, with a soaring double-height ceiling, floor-to-ceiling windows and a sophisticated mix of natural materials like wood, stone and linen. Luxurious Aesop toiletries lined the bathroom shelves and, to my delight, there was even a Dyson Airwrap for fixing up soggy helmet hair. The room also came with its own fireplace and a hot tub.

I couldn’t get my skiwear on fast enough but, once dressed, I took one look in the mirror and felt like an imposter. Staring back at me was the definition of “all the gear, no idea”. Luckily, there was another newbie in the group and the pair of us headed out for a lesson on the baby slopes, just a stone’s throw away from Weisergut.

I quickly discovered that my TikTok ski lessons had taught me next to nothing, but soon got to grips with finding my balance, turning and slowing down – very important in order to avoid any Paltrow-esque ski crashes.

After two hours of “pizza and French frying” our way down the baby slopes, we’d certainly worked up an appetite, and 1,500 metres up Reiterkogel mountain, Wieseralm provided the perfect location to refuel. A sister to the Weisergut, the mountain restaurant offers alpine classics such as Kaiserschmarrn, cheese dumplings and Viennese schnitzel. We were treated to a host of other decadent delights including truffle carbonara, buttery mash, fillet steak and king prawns.

Each time we thought we were done, the servers brought out another course, each as impressive as the last, and they made sure our wine glasses were never empty. Forget skiing backdown the mountain – we could have just rolled down.

Some 30km away, nestled in the beautiful Leoganger mountain range, sits Priesteregg, a five-star eco resort with its own picturesque mountain village.

Sixteen charming chalets are dotted on a steep hillside, each adorned with scarlet geraniums in the window boxes, wooden deckchairs softened with sheepskin throws, flickering candles and log fires waiting to be lit.

Smiling girls in floral dirndls welcomed me with a hot coffee before I headed to the Priesteregg BAD (spa) for wellness treatments.

I went for a swim in the Himmelbecken, an outdoor infinity pool that offers a magnificent view of the Hochkönig mountain, before taking part in a yoga class on the terrace over looking it. The yoga instructor then took us through an incredible guided breathing session using the Wim Hof method in preparation for a cold plunge at the Naturbecken pool.

To my surprise, I enjoyed every second of the dip, and barely noticed the cold even as I climbed out into the rain. I don’t know if this was the effect of the breathwork, or if the breathtaking scenery simply offered the perfect distraction from the discomfort.

I’ve never slept more soundly than I did in my bedroom at the chalet. Situated on a high plateau facing the mountains, the chalets offer stunning views, including a glimpse of the nearby luminescent man-made glacial lake.

It’s hard to imagine a more indulgent start to the day than the Priesteregg breakfast, served in your chalet. You wake to the soft sounds of quiet preparation, and when you step into the living space, it has all been laid out – candles lit, coffee brewing and the table laden with platters of local ham and cheese, fresh fruit, yoghurt and still-warm breads and pastries. All that’s left for you to do is cook the eggs and bacon, if you fancy it.

The nearby town of Leogang is worth exploring, including Mama Thresl – Priesteregg’s cooler, more casual sister hotel – which provides easy access to the gondola for those wanting to ski or snowboard. But given Priesteregg’s panoramic mountain views, one-of-a-kind wellness area, incredible on-site cuisine and warm Austrian hospitality, it’s a wonder anyone would leave.

How to book

Rooms at Priesteregg Premium Eco Resort (priesteregg.at/en)start from £296 B&B per person, per night in a Berg MountainChalet (based on two sharing).

Rooms at Wiesergut (wiesergut.com) start from £332B&B per room, per night in a Manor Suite Bliss.

Rooms at MamaThresl (mama-thresl.com) start from £170B&B per room, for two people in a Wooden style double room.

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For L.A.-based musician, composer and artist San Cha, the Spanish language is a creative gold mine. “One of my favorite Spanish words is ‘embriágame,’ which I think the direct translation is ‘make me drunk’ or ‘intoxicate me,’” she says. “I love that word. I think there’s a song by Thalía that has that word, it’s called ‘Piel Morena,’ and every time she said that, I’m like — ‘That’s it!’”

San Cha is speaking of her latest work, “Inebria me,” ahead of its Los Angeles premiere Thursday at REDCAT, inside the Walt Disney Concert Hall complex. “Inebria me” is a 90-minute experimental opera that expands on her critically acclaimed 2019 ranchera fusion album, “La Luz de la Esperanza.” San Cha stars as Dolores, a humble bride to the much wealthier Salvador, whose jealousy turns deadly; enter Esperanza, a genderless spirit of empowerment, who helps light Dolores’ path to freedom.

Having gone from singing rancheras in the restaurants of Mexico City to experimenting in underground drag scenes in the Bay Area, San Cha has developed a knack for synthesizing disparate influences that result in visually arresting and thought-provoking work. Born Lizette Gutierrez in San Jose to Mexican immigrant parents, San Cha grew up offsetting her intense Bible study by binging on telenovelas after school. It shows in “Inebria me,” where she employs the classic narrative structure of the telenovela, but with a queer twist. “I wanted to hold [onto] the queerness of [the story] and the religious aspects of it,” she says.

The opera is the latest of San Cha’s collaborative efforts. She’s previously linked up with an array of artists — including La Doña, Rafa Esparza, Yesika Salgado and even country singer Kacey Musgraves, who featured San Cha in a pivotal moment from her 2021 visual album, “Star-Crossed.” Darian Donovan Thomas also stars in “Inebria me,” alongside Stefa Marin Alarcon, Lu Coy, Kyle Kidd, Carolina Oliveros and Phong Tran.

In our latest interview, she discusses developing her music for the stage and what it took to build the confidence to advocate for her original vision on her own.

This interview has been edited and condensed for clarity.

San Cha performs with Darian Donovan Thomas on Sept. 5 at the Winningstad Theatre in Portland, Ore.

(Jingzi Zhao)

When did the idea to adapt “La Luz de la Esperanza” come to you?
It actually came to me in 2023 or 2024 when I partnered with the National Performance Network for this grant. I started talking with the Portland Institute for Contemporary Art, which was already on board, and the Performance Space New York. Like, what would I do to adapt this work?

Did you have experience in traditional theater growing up?
No, I didn’t. And I also didn’t watch too many movies. I missed out on a lot of those very American experiences. People would be like, “Do you know this movie?’ And “It’s like a classic,” and it’s like “No.” I was really sheltered, you know, “I’m over here in Bible study” kind of s—.

Has anyone in your family seen this piece? If so, what was their feedback?
My parents saw a trial version of this piece in San Jose, my hometown. They saw the PG-13 version, which is what I’d like to say, and my mom was confused; I don’t even know how my dad felt. My mom’s one comment was, “You didn’t sing rancheras. Everyone wants you to sing rancheras.” And I was like, “Oh, my God.” So they also came to the closing night with a big group, and I sang the rancheras for them at the end.

How would you relate “Inebria me” to what’s considered a “traditional” opera?
I would say it has a very clear narrative … everything is sung, except for the parts [where] the Man [is] talking or speaking.

I sing rancheras [and] that kind of blends into operas. I didn’t grow up being an opera singer, or wanting to be an opera singer, but somehow it developed in that direction. In this, we get to be all the things: a little hardcore, a little pop, a little mix with opera.

Where did the idea to bring in telenovelas come from?
I wanted to make a telenovela set to music. And because I’d never seen a queer telenovela … I just was like, I want to make the telenovela and set it to disco music … something electronic, glamorous. It [speaks to] the illusion of glamour, underneath everything is ugly and twisted.

What was your first memory of watching a telenovela?
There are so many. I’d watch the kid telenovelas. But there’s one in particular … it’s one where Lucero, a big pop star in Mexico, plays three versions of herself, so she’s a triplet. And there’s one [version] that is so evil. I still remember, [the characters] would get very BDSM … like locking people up! As a kid, I was feeling like … “Why am I watching this? I’m a child!”

“I didn’t grow up wanting to be an opera singer, but somehow it developed in that direction,” says San Cha of “Inebria me.”

(Jingzi Zhao)

You’ve talked about how drag queens were instrumental, especially early in your career. Queer and drag culture have come into mainstream pop and youth culture on the one hand, but remain demonized on the other. How do you reconcile those two extremes in your work?
I guess visibility doesn’t always mean safety or acceptance. I remember being in San Francisco and seeing drag that wasn’t as polished and more on the fringe side of it.

I was … kind of hating it when I got to L.A. and how polished everyone was. But when I saw “RuPaul’s Drag Race” reruns on VH1, I was like, “This is literally life-changing.” And how cool that this is becoming mainstream!

In a previous interview, you discussed sin and guilt as the themes of this work. Many artists have explored this theme in various ways across different cultures and times. Why do you think ideas around guilt and sin hold such power over us?
You’re made to do what you don’t want to do by [people] making you feel shame for the ways you act. And in [“Inebria me”], the sisters each have a confession, and I wanted to make that a focal point — with the nun, the religious person.

In telenovelas, there’s always a priest [they] talk to when they have troubles, you know? And I think in the [Catholic practice of] confession, it is important to relieve yourself of the shame and guilt. But it’s almost like you relieve yourself and then you feel shame, you know? And that’s the part that stops growth, evolution and freedom.

For someone whose first impression of “Inebria me” is that it’s not for them, what do you think they would be surprised to discover or an element they would enjoy?
Everyone in this piece is a star, everyone’s a diva. I think they all really shine on their own, and they really bring it with the acting. Their voices are all incredible, and their stage presence. Maybe they could be into the scene design by Anthony Robles — it’s super minimal, but it does so much for the space in creating this oppressive world. I think there is something for everyone. It’s a story that can relate to a lot of people.

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(It still doesn't feel real.)\"]}],[\"$\",\"div\",null,{\"className\":\"BoxStyles_box-container__Qk3WH BoxStyles_commercial__Wo6Z4 undefined\",\"data-testid\":\"commercial-3\",\"children\":[\"$\",\"$L76\",null,{\"location\":\"article-body\",\"position\":3,\"hide\":false,\"features\":\"$207\"}]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"I started my flight training in January 2023 on an Integrated ATPL. 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\",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"I don't think anything will beat flying all over the desert in a little PA28 every morning.\\\"\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"She added: \\\"Although I had the time of my life at flight school, and made memories that will last forever, I think it's important to add that it does come with its challenges, and to get to the point it took rejection, determination and a whole lot of resilience.\"]}],[\"$\",\"div\",null,{\"className\":\"BoxStyles_box-container__Qk3WH BoxStyles_commercial__Wo6Z4 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src=\\\"https://connect.facebook.net/en_GB/sdk.js#xfbml=1\u0026version=v23.0\u0026appId=APP_ID\\\"\u003e\u003c/script\u003e\\n\\n\u003cdiv class=\\\"fb-post\\\" data-href=\\\"https://www.facebook.com/story.php?story_fbid=1207999678038461\u0026amp;id=100064853194109\u0026amp;mibextid=wwXIfr\u0026amp;rdid=7OOAPdW46Xt3iyKu#\\\" data-width=\\\"500\\\" data-show-text=\\\"true\\\"\u003e\u003cblockquote cite=\\\"https://www.facebook.com/updateaviation/posts/1207999678038461\\\" class=\\\"fb-xfbml-parse-ignore\\\"\u003e\u003cp\u003e“Hello! My name is Jenna and I am from Manchester in the UK\\n\\nMy aviation journey began from a young age when my dad...\u003c/p\u003ePosted by \u003ca href=\\\"https://www.facebook.com/updateaviation\\\"\u003eUpdate Aviation\u003c/a\u003e on\u0026nbsp;\u003ca href=\\\"https://www.facebook.com/updateaviation/posts/1207999678038461\\\"\u003eSaturday 27 September 2025\u003c/a\u003e\u003c/blockquote\u003e\u003c/div\u003e\",\"rightHandRailEnabled\":true,\"publication\":\"mirror\",\"dataTmDataTrack\":\"content-unit\",\"dataTmdatatrackType\":\"facebook_post\"}]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"My advice to lady aviators is if you have a dream of being a pilot, you owe it to yourself to pursue it! Aviation can be a challenging industry to get into, both financially and mentally. But there is always a way!\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"The flight deck has a place for anyone who has the passion to be in there, regardless of who you are!\"]}],[\"$\",\"div\",null,{\"className\":\"BoxStyles_box-container__Qk3WH BoxStyles_commercial__Wo6Z4 undefined\",\"data-testid\":\"commercial-5\",\"children\":[\"$\",\"$L76\",null,{\"location\":\"article-body\",\"position\":5,\"hide\":false,\"features\":\"$207\"}]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"As a female who felt nervous about going into a male-dominated industry, I have to say how welcoming I have found the aviation industry!\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"\\\"I've made lifelong friends and feel part of a community that always helps each other out!\\\"\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"In the comments section, people shared their own experiences.\"]}],[\"$\",\"div\",null,{\"className\":\"BoxStyles_box-container__Qk3WH BoxStyles_commercial__Wo6Z4 undefined\",\"data-testid\":\"commercial-6\",\"children\":[\"$\",\"$L76\",null,{\"location\":\"article-body\",\"position\":6,\"hide\":false,\"features\":\"$207\"}]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"One mum wrote: \\\"My daughter's dream is to become a pilot. She has flown two small planes from Barton airport, Manchester, and absolutely loves it. She is only 12, nearly 13, and next week she is joining the air cadets to experience that side of aviation\\\".\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"Another added: \\\"Well done and congratulations. My son has just started with Tui as a Pilot and will be based in Manchester. It has made me realise how hard the training is and how dedicated you have to be. It's a wonderful industry to be in. Enjoy every minute,\\\" a dad praised.\"]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"Someone else chimed in: \\\"Well done to you. Absolutely fantastic. You show those stripes with pride, hun. Hard work pays off.\\\"\"]}],[\"$\",\"div\",null,{\"className\":\"BoxStyles_box-container__Qk3WH BoxStyles_commercial__Wo6Z4 undefined\",\"data-testid\":\"commercial-7\",\"children\":[\"$\",\"$L76\",null,{\"location\":\"article-body\",\"position\":1000,\"hide\":false,\"features\":\"$207\"}]}],[\"$\",\"p\",null,{\"className\":\"Paragraph_paragraph-text__PVKlh \",\"data-testid\":null,\"data-tmdatatrack\":\"content-unit\",\"data-tmdatatrack-type\":\"paragraph\",\"children\":[\"Whilst another penned: \\\"Well done Jenna you will never look back to what you have achieved I just love flying. Hope you're flying one of my holidays\\\".\"]}]]]}],[\"$\",\"div\",null,{\"data-testid\":\"content-tags\",\"className\":\"ContentTags_content-tags__ITC5g\",\"children\":[[\"$\",\"$L27e\",\"0\",{\"linkUrl\":\"https://www.mirror.co.uk/all-about/careers-advice\",\"linkText\":\"Careers advice\",\"dataTmDataTrack\":\"more-on\",\"dataTrackName\":\"Careers advice\"}],[\"$\",\"$L27e\",\"1\",{\"linkUrl\":\"https://www.mirror.co.uk/all-about/air-travel\",\"linkText\":\"Air travel\",\"dataTmDataTrack\":\"more-on\",\"dataTrackName\":\"Air travel\"}],[\"$\",\"$L27e\",\"2\",{\"linkUrl\":\"https://www.mirror.co.uk/all-about/planes\",\"linkText\":\"Planes\",\"dataTmDataTrack\":\"more-on\",\"dataTrackName\":\"Planes\"}]]}],[\"$\",\"$L27f\",null,{\"publication\":\"mirror\",\"webAlertsConfig\":\"$200\",\"tags\":[{\"id\":\"tag:[email protected],2011:Careers%20advice\",\"name\":\"Careers advice\",\"scheme\":\"tag:[email protected],2011\",\"term\":\"careers-advice\",\"publication\":\"mirror\",\"isPrimary\":true},{\"id\":\"tag:[email protected],2011:Air_travel\",\"name\":\"Air travel\",\"scheme\":\"tag:[email protected],2011\",\"term\":\"air-travel\",\"publication\":\"mirror\",\"isPrimary\":false},{\"id\":\"tag:[email protected],2011:Planes\",\"name\":\"Planes\",\"scheme\":\"tag:[email protected],2011\",\"term\":\"planes\",\"publication\":\"mirror\",\"isPrimary\":false}],\"oneSignalEnabled\":true,\"disableAirship\":true}],[\"$\",\"$L280\",null,{\"publication\":\"mirror\",\"domain\":\"https://www.mirror.co.uk\"}],[\"$\",\"$L281\",null,{\"analyticsData\":{\"allTags\":\"Careers advice|Air travel|Planes\",\"articleAuthor\":\"Danielle Kate Wroe\",\"articleId\":\"35990340\",\"articleSubtype\":\"news_story\",\"articleType\":\"article:news\",\"canonicalUrl\":\"https://www.mirror.co.uk/lifestyle/im-female-pilot-theres-piece-35990340\",\"cleanUrl\":\"https://www.mirror.co.uk/lifestyle/im-female-pilot-theres-piece-35990340\",\"cmsPlatform\":\"nationals\",\"headline\":\"'I'm female pilot and there's piece of advice I have for anyone entering industry'\",\"isEvergreenStory\":false,\"natRegLookup\":\"Daily Mirror\",\"noIndex\":false,\"originalPublicationTime\":\"14:55\",\"ownerSite\":\"Daily Mirror\",\"pageDomain\":\"www.mirror.co.uk\",\"pagescreenType\":\"article\",\"pageSection\":\"lifestyle\",\"pagesecondarySection\":\"\",\"pagetertiarySection\":\"\",\"pageType\":\"article: news, news_story\",\"primaryTag\":\"Careers advice\",\"projectName\":\"GutenBot,gutenbot_v2,prospero,social_newsdesk,under_35s_content_hub\",\"publicationName\":\"Daily Mirror\",\"publishedDate\":\"2025-09-30\",\"updatedPublicationTime\":\"14:55\",\"updatedPublicationDate\":\"2025-09-30\",\"webPlatform\":\"Navigator\",\"hasNewsletterHeadline\":false,\"hasHtmlPageTitle\":false,\"htmlPageTitleValue\":\"none\",\"newsletterReferralHeadlineValue\":\"none\",\"socialHeadlineValue\":\"'I'm a female pilot and there's advice I give to anyone entering industry'\",\"isExcludedfromYahoo\":true,\"isExcludedFromApp\":false,\"isExcludedFromAppleNews\":false,\"isExcludedFromFBIASiteMapAndRSS\":false,\"isRemovedFromAmp\":false,\"isClearedForPublishing\":false,\"packageName\":\"\"}}],false,false,[\"$\",\"$L282\",null,{\"converseServiceProps\":{\"platform\":\"nationals\",\"endpointURL\":\"https://get-latest.convrse.media\",\"articleUrl\":\"https://www.mirror.co.uk/lifestyle/im-female-pilot-theres-piece-35990340\"}}],[\"$\",\"$L283\",null,{\"jwClickToPlayGeos\":\"$26a\"}]]\n"])

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ONE BATTLE AFTER ANOTHER

(15) 162mins

★★★★★

WHAT time is it? It is a question Leonardo DiCaprio’s stressed-out fugitive Bob Ferguson is asked over and over again in this black comedy.

Wearing a dressing gown and bad shades, Bob doesn’t have the answer because he’s too stoned to remember the code he was given by a left-wing terror group called the French 75.

But I can tell you that the time is absolutely right for One Battle After Another.

This is a political satire that skewers both the extreme right and the extreme left at a moment when both sides are to the fore in the real world in the United States.

The time is also well overdue for this piece of cinematic dynamite that will have you on the edge of your seat — from laughter or the high-octane action.

Directed by Paul Thomas Anderson, it is a work of genius that fuses the best elements of his films There Will Be Blood and Boogie Nights.

It begins 16 years ago with Bob helping to free refugees at a US border crossing.

During the raid his girlfriend, the wonderfully named Perfidia Beverly Hills (Teyana Taylor), orders Sean Penn’s military officer ­Steven J Lockjaw to “get up” his private parts.

The French 75’s increasingly reckless terrorism ends in a thrilling chase and Bob needing to go into hiding with the baby daughter he shares with Perfidia.

Most of the story is set in the current time, with Lockjaw coming after Bob and his daughter Willa.

As things get wilder, the audience is introduced to a bunch of incredible characters, including members of the white supremecist Christmas Adventurers Club, gun-toting nuns and Benecio Del Toro’s always-cool martial arts instructor Sergio.

Leonardo DiCaprio leads stars at London premiere of One Battle After Another

The serene Del Toro is a perfect comic foil for the frantic DiCaprio who spends a lot of time running around shouting “f, f, f***.”

In one of the standout screwball moments, Sergio keeps repeating “four” as Bob is reluctant to jump out of his moving car like “Tom Cruise”. It is just one of many quotable lines.

But the most memorable scene brings the movie’s various plots to a perfect, heart-racing conclusion.

All of the cast are outstanding, with DiCaprio and newcomer Chase Infiniti as Willa most likely to be nominated for awards.

If there is any justice this film will get one Oscar after another.

GRANT ROLLINGS

3

THE STRANGERS: CHAPTER 2

(15) 96mins

★★☆☆☆

3

DIRRECTED by Renny Harlin, this second instalment in the Strangers trilogy is a bafflingly incoherent mess.

It picks up right after the events of Chapter 1, but instead of expanding on Bryan Bertino’s original 2008 home-invasion nightmare, it devolves into a clumsy blend of ­borrowed horror tropes held together by a barely coherent backstory.

Chapter 2 follows the survivor, Maya (Madelaine Petsch), as she is relentlessly pursued by masked killers in a sleepy American town.

Despite her injuries, Maya must find the strength to stay alive and tell the tale.

Petsch is committed to the physical demands of the role, fighting a CGI boar in a bafflingly out-of-place sequence.

However, the film’s drawn-out and repetitive cat-and-mouse chases become truly unbearable.

Narratively, the film is all over the place lurching from home-invasion suspense to slasher to survival horror.

The only thing that prevents it becoming a total farce is Harlin’s occasional use of a few inspired jump scares.

As a middle chapter, this feels like a placeholder for the next film.

LINDA MARRIC

DEAD OF WINTER

(15) 98mins

★★★☆☆

3

IF you were casting for a Ramboesque heroine, Emma Thompson would not be the first name to spring to mind.

But in this rescue of a kidnap victim from a remote cabin thriller, it is the Love Actually actress displaying ingenious ways to survive.

Set in northern Minnesota in the US, Thompson’s Barb heads out in a snow storm to a lake that had a sentimental value to her recently deceased husband.

There she comes across a man who has tied up a young woman in his cellar.

Unable to go to get help, Barb vows to save the girl herself.

But the man is not her main concern, because it is a gun-toting woman played by Judy Greer who is the one with the least to lose by fighting to the bitter end.

Thompson is remarkably good when Barb is stitching up a bullet wound in her arm with fishing wire, and the attention to detail in the sets also impresses.

But choosing her isn’t enough to make this last- person-standing drama feel particularly original.

Like the tracks that Barb leaves in the snow, you know where most of the plot turns lead.

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Los Angeles County Museum of Art’s new Peter Zumthor-designed David Geffen Galleries are alive with sound and activity. Voices echo through the vast, concrete space and a cacophony of drills and electric lifts beep, buzz and blare. A unique colored glaze is being applied to gallery walls, and paintings and photos are being installed throughout.

That gritty whir? It’s the Hilti TE 4-22 cordless rotary hammer drill. “A very fine product,” says senior art preparator Michael Price with a sly smile. He’s been drilling holes in the concrete walls with the large red contraption, which comes with a small attached vacuum that sucks up concrete dust as it penetrates the wall. The work is simple and done in a matter of seconds.

Senior art preparator Michael Price drills into concrete walls to hang art in LACMA’s new David Geffen Galleries. He jokingly calls the Hilti TE 4-22 cordless rotary hammer drill “a very fine product.”

(Jason Armond / Los Angeles Times)

Some of the first holes were drilled a little more than a week ago for the installation of a photo sculpture LACMA commissioned for its entrance by Los Angeles-born artist Todd Gray, titled “Octavia Butler’s Gaze.” Last Wednesday, Gray, along with LACMA director and Chief Executive Michael Govan and curator Britt Salvesen, watched the final panel of the 27-foot-long assemblage being hoisted onto the wall and put in place using wooden cleats that fit together much like a jigsaw puzzle.

“This is another thing that concrete makes possible,” says Salvesen, the head of the photography, and prints and drawings, departments, noting with satisfaction how flush the photographs sit against the wall. “The traditional sheetrock drywall used in many museums have been painted and repainted so many times, they’re not exactly pristine when it comes to leveling.”

Gray steps back and looks at the finished product, nodding with quiet pride. The L.A. native attended Hamilton High School and CalArts and felt deeply honored to have been tapped for a permanent commission. He was therefore among the first people to take a hard-hat tour of the building when it was under construction so he could familiarize himself with the space. The new building opens in April 2026.

“I was kind of overwhelmed,” Gray says. “I had never been in an architectural space like this so I was just really curious. But I must admit, I was much more concerned about this wall.”

The wall is big — a blank, concrete slate — and Gray’s piece will be the first work of art guests see when they walk up the broad staircase leading to the new galleries. In Butler’s portrait, which Gray took in the 1990s, the influential writer looks contemplatively off into the distance — whether near or far, one can’t be sure. Her expression is unreadable, at once thoughtful, curious, interested and detached.

A portrait of Octavia Butler, taken by Todd Gray in the 1990s, anchors the 27-foot-long photo sculpture commissioned by LACMA for the entrance of its new David Geffen Galleries.

(Jason Armond / Los Angeles Times)

Her face is in a gold, oval frame and the viewer’s eyes follow hers to other aspects of the piece — an assemblage of large and small photos taken by Gray in places around the world, including Versailles, Norway and Ghana. It includes an image of an idyllic-looking path through bright green foliage that leads to a slave castle in Cape Coast, Ghana. There is also a striking image of stars in the cosmos, a lovely fresco from a church in Rome, a picture of traditional sculpture housed at the AfricaMuseum in Belgium and a series of stoic Greek columns.

“A lot of my work is contesting art history, or talking about art history, or photography’s place in history, my history, various histories culturally,” said Gray, explaining why he likes that LACMA’s collection will not be exhibited chronologically, or by medium or region, but rather in a series of interwoven exhibits that connect vastly different art in dialogue. “So it was really a commission made in heaven.”

The new galleries, explained Govan, will focus on “migration and intersection, rather than American art over on one side of the museum and European art in a different wing.”

Gray’s photo sculpture, for example, will be adjacent to a gallery featuring African art and near another with Latin American art.

It will also be directly across from a floor-to-ceiling window. These giant windows are a key part of Zumthor’s design — and a flash point for controversy, with critics arguing that too much sunlight could harm fragile art.

Translucent curtains are being designed for some of the windows, but won’t be used throughout, and not in the entrance across from “Octavia’s Gaze.” For that reason, Gray said he employed a relatively new technique called UV direct printing that was developed for outdoor signage. The process involves intense ultraviolet lights that cure and harden the ink, ultimately searing it into the printing material. These prints won’t fade, Gray said.

Todd Gray, left, oversees the installation of his photo sculpture “Octavia Butler’s Gaze.” The piece used a new UV printing technology to ensure it won’t fade in the sunlight coming in through the floor-to-ceiling windows across from it.

(Jason Armond / Los Angeles Times)

Delicate and old art will not be put at risk by light, Govan said. The interior of Zumthor’s building is dotted with boxy, windowless galleries that Govan and Zumthor call “houses.” And like houses, the interior of galleries are being treated to color — not in the form of paint, however.

Zumthor conceived of three colors that he wanted used in the galleries, explained Diana Magaloni, senior deputy director for conservation, curatorial and exhibitions, who has been mixing the glazes and working with a team of four trained artists to apply them. The colors are a reddish black, a Renaissance ultramarine blue and a blackish burgundy that Zumthor hoped would conjure a cave-like dimness. Overall, Magaloni said, Zumthor wanted the color to look as if it were emerging from darkness.

There are 27 galleries and the colors will be divided by section: Nine on the south side are red, nine on the north side are black and the nine in the middle are blue.

The glazing technique was conceived by a friend of Zumthor’s who lives in Switzerland, and LACMA is currently the only organization to employ it, Magaloni said.

Pigments made of minerals including hematite and rocks like lapis lazuli are ground into nanoparticles and suspended in silica, resembling “melted glass,” as Magaloni describes. The glaze is then applied to the walls, a process that must be done at once in order to prevent any impression of brushstrokes, and also because the glaze hardens quickly. Once it’s dry, the team applies a second coat of glaze pigment infused with black carbon nanoparticles. The effect is dark and mottled — it looks as if the concrete has swallowed the color.

“The concrete has all this life in and of itself,” said Magaloni. “You can walk through the building and you can see that those surfaces are not really homogeneous. The material expresses itself with no artifice, and we wanted to preserve that.”

Painting the concrete would erase that life, she added.

A gallery blushing in a deep wine color, with the theme of “Leisure and Labor in the American Metropolis,” is almost ready. Work by George Bellows, James Van Der Zee, Mary Cassatt and Robert Henri adorn the walls, and there is a table ready to receive a Tiffany lamp. Govan points out that such paintings would not have been originally displayed on white walls but rather on walls of richly colored fabric.

“She’s asking you something,” Todd Gray said of his portrait of Octavia Butler.

(Jason Armond / Los Angeles Times)

Gray’s piece will also be in dialogue with this room, calling to it from another time and place — asking viewers to turn their gaze to history, slavery, transcendence, salvation, power and so much more.

At this moment in time, when arts institutions are grappling with the implications of the Trump administration’s claim that the Smithsonian Institution presents “divisive, race-centered ideology” and vow to monitor what other museums around the country are putting on display, Gray’s piece feels like a small bit of resistance.

“She’s asking you something,” Gray says of Butler.

The answer is yours to declare.

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